| Alison Brown | Primary Artist, Primary Artist, Banjo, Guitar, Primary Artist |
| Seamus Egan | Drums, Pipe, Whistle (Instrument), Penny Whistle |
| Bill Miller | Flute, Wood Flute |
| Sam Bacco | Percussion |
| John Burr | Synthesizer, Piano, Keyboards |
| Vassar Clements | Fiddle |
| Alan Dargin | Didjeridu |
| Joey Dukes | Drums |
| Matt Eakle | Flute |
| David Hoffner | Synthesizer, Keyboards |
| Andy Marell | Steel Pan |
| Mike Marshall | Mandolin |
| Paul McCandless | Soprano Saxophone |
| Joey Miskulin | Accordion |
| Scott Mygaard | Guitar |
| Rick Reed | Percussion, Drums |
| Gary West | Bass |
| Jeff King | Electric Guitar |
| Andy Narell | Sound Effects |
| Gary West | Arranger, Producer |
| Garry West | Arranger, Producer |
Editorial Reviews
All Music Guide - Johnny Loftus
Five-string banjoist Alison Brown deftly incorporates Cajun, Celtic, Caribbean, and Native American music into her progressive bluegrass sound, making for a cleanly played set that's as crisp as white sheets on a springtime clothesline. "View From Above" is a shuffling, lightly jazzed number that plays Brown's banjo off of steel pans, while the title track glides along on a cloud that's more substantive than adult contemporary, but still palatable to that audience with its tasteful soprano sax. Look Left was written as an experiment, bringing the banjo into new musical environments, so Brown's whimsical style hurdling isn't really out of place. On the contrary, it's ...